This quilt, "Imelda's Dream" is currently exhibited at MB Gallery in Chicago, Illinios.
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This quilt, "Imelda's Dream" is currently exhibited at MB Gallery in Chicago, Illinios.
All photos are clickable for you to view a larger version in a separate window. Click the back arrow icon of your server to get back to this post.
In a previous posting I explained how each block was constructed and quilted. To put the quilt together, a row of blocks was sewn together by butting the raw edges of two blocks and attaching one to the other with a wide zig-zag stitch. A narrow 1/2" flattened tube of fabric (seam pressed open on the under side) was machine appliqued on the back side to cover the zig-zag stitched seam. Then the sashing that represents the colored light framing the display was appliqued on the front of the quilt to hide the zig-zag seam as well as the two applique seams. A silver cord was couched at the edge of the sashings to give a highlight to the neon.
After all the vertical rows of blocks were assembled, I sewed the sections together in the same way ... 1/2" sashing tube on the back, the neon light sashing on the front, and the silver cording couched to the edges.
This way of constructing completed (quilted) sections for a large quilt works well for me. I cannot imagine trying to free-motion quilt on a home sewing machine a piece that is this large (70"x70"). I had a difficult time getting the last two sections together. I even stated rather loudly at the time as I wrestled that bulk through the machine, "This is my LAST really big wall quilt!!!" Well, we'll see if I truly meant that down the road.
This pair of shoes began as a single shoe just like all the others. It was cut apart to look like a pair snuggled in tissue (actually china silk). The shoe fabric is an old machine-made lace dresser scarf ... making perfect footwear for a bride.
In the finished quilt each shoe is showcased in its own lighted display cube. Oil stick pastels were used to give the initial effect of colored light on the background fabric. The shoe and "tissue" were adhered in place with temporary spray adhesive.
A piece of tulle colored the same as the "light" for the cube was adhered with the temporary spray adhesive over the whole block. The shoe and box top are trapunto. A thin batting was placed under that area on the wrong side of the block. I then machine quilted around and within the shoe as well as the lines of the box top. The excess batting outside of the shoe and top of the box was trimmed away.

The block is trimmed to size. Soon I'll post about the construction of the whole quilt.
The patterns for the different parts of the shoe are fussy cut from one fabric ... even the pom pom on top.
The three printed fabrics are metalic. To carry through the glitz, I added glitter glue colors to the butterflies. Star sequins decorate the box lid.
The Bear Facts
The flowers are cut from a trim and then clustered under tulle. A metallic cord is couched along the sole. The front edge of the box's top is shaded with an orange oil stick pastel.
I did wear a pair of fun new beaded wedge shoes to lunch and a gallery last spring and my back was out for a week. Aargh! They really were comfortable all the while, but by bedtime I could hardly walk.
So, I got these for summer fun.
I also have "art" shoes. These were purchased this way. I have to tie the long laces around my ankle to keep them on.
These were a favorite pair of white leather shoes that became grungy, so I painted them with fabric paints and inks. There's a coating of mink wax on top. This was done several years ago and the paint has never cracked. It hasn't worn off the rubber sole either.
Guess I'll have to dream on with Imelda and just continue going bare/sock footed and don only flat shoes. These are what I wear most often in the winter weather.

NO, I didn't piece all those little squares in the shoe. That part is whole cloth.
I live with the "World's Greatest Elvis Fan". So of course I had to make a rock'n roll shoe featuring the King.
My husband tried to talk me out of the one I made for "Imelda's Dream" quilt. He was disappointed that I wouldn't let him have it until he opened his birthday present of this large one made especially for him.
The berries were all cut from a quarter yard of a fruit printed fabric. There were a lot of berries. Enough to make three shoe quilts. One for "Imelda's Dream", one for Alicia's and my friend, and this one that I donated for our guild to sell at the annual quilt show.
I couldn't resist playing with the vegetables on a large scale printed fabric for this one. Each of them just fell into place on this shoe. This heel is really spiked. I just couldn't trim away that asparagus tip.
This quilt was a birthday present for my sister in Indiana. It hangs in the room that also has her collection of dolls. The boot is made from a lace dresser scarf and has a silk taffeta under layer and heel. The background and frame are home dec fabrics given to me by my interior decorator friend, Ebbie.
Each shoe in its "lit" display cube is a translation of a heel designed by Christian Louboutin, a Parisian shoe designer. He paints all the soles of his shoes red. The glow of the lights is achieved with oil pastels. I had great fun designing and constructing the shoes two years ago. Last spring they got names and boxes. Giving them all a venue took just about every moment of studio time since I got back from Michigan. It's contructed with my collage technique of layering all the elements under tulle netting. The machine quilting holds everything in place. This may just be my last large machine quilted piece. It was a real struggle wrestling this much quilt through the sewing machine.
I'm very pleased that "Imelda's Dream" also received the "Just For Fun" special award.
I was inspired to make this tryptic when Lee and I hiked through an area that had burned ten years earlier in Jackson Hole, Wyoming. I had a strong emotional reaction to the tender new growth under the still standing burned trees. It was a glorious early summer day under a clear blue sky. There were flowers blooming everywhere among the new growth trees. I couldn't help but think of how perceived destruction is often necessary for regeneration. A prominent example being chemotherapy.
All kinds of squares joyously dance through this quilt. The design evolved through a "round robin" design exercise with my daughter-in-law, Jeanette Jancius Durand, and niece-in-law, Diane Cross Durand. We had each designed and made the center panel for a quilt. Then we swapped those and added to it. The challenge was to make the addition unique and to have it work with what was already there. At the end we each had a large piece that the three of us had contributed to. I continued adding onto mine to make this bedsized quilt.